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THE FASCINATING 



"BOSTON" 



Alfonso Josephs Sheafe 




THE BOSTON MUSIC CO. 




Book. ^ ^ ^ €^ ' 



CopyriglitlS?. 



CQF»?IGHT DEPOSIR 



THE FASCINATING 
BOSTON 

How to Dance and How to Teach the 
Popular New Social Favorite 

By 

ALFONSO JOSEPHS SHEAFE 

Master of Dancing 

Translator and Editor of 
Zorn's Grammar of the Art of Dancing 



Ms. 



Boston, Mass. 

THE BOSTON MUSIC COMPANY 

New York : G. Schirmer, Incorporated 



<^''p 



Copyright, 1913, by 
THE BOSTON MUSIC CO. 

For all couatries 



B. M. Co. 3366 



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@CLA330826 



Table of Contents 

Page 

FOREWORD • 1 
THE BOSTON 

The Fundamental Positions 5 

The Position of the Partners 8 

The Step of the Boston 12 

The Long Boston 22 

The Short Boston 23 

The Open Boston 24 

The Boston Dip . 25 

THE TURKEY TROT 27 

THE AEROPLANE GLIDE 28 

THE TANGO 29 



THE FASCINATLNG 
BOSTON 

FOREWORD 

OiNCE the introduction of the wahz, 
^^^^ more than a hundred years ago, 
it has held the first place in the esteem 
of dancers throughout the civilized 
world. There has appeared, however 
a new claimant for the place — one that 
possesses all the qualities that go to 
make a social favorite, and has the 
additional advantages of greater ease of 
execution, and wider possibilities of 
adaptation . 

This is the BOSTON— not, as many 
persons suppose, a new creation nor in- 
deed is it a novelty even to the American 
public, for it was introduced here more 
than a generation ago; but the great 
popularity of the Two-Step, which had 
just then come into vogue, and was fast 
gaining favor under the influence of such 



THE FASCINATING BOSTON 

brilliant compositions as the quick-step 
marches by Sonsa, operated ag'ainst its 
immediate acceptance. 

One of the reasons why the Boston 
should prove today a more attractive 
dance than any other, is the fact that 
now there are more captivating airs 
written for this particular form of dance 
than for any other, and as the Two-Step, 
in its time, found its most powerful ally 
in the music to which it was adapted, 
the Boston has today the persuasive 
intercession of such languorous and 
haunting melodies as "Love's Awaken- 
ing" and "On the Wings of Dream," 
by Danglas; Sinibaldi's "Thrill," and 
others. 

General taste has gradually found out 
the superior charm of the Boston; the 
pendulum of public favor has again 
swung in the direction of skilful dancing. 

The recent revival of the Waltz in its 
proper form, has brought with it a 
larger appreciation of the more worthy 



FORE WORD 



and graceful social dances, and the entire 
world now recognizes the wonderful 
beauty of the Boston, and has welcomed 
it as a real competitor. 

The Boston is not a Waltz, yet it is 
the perfection of it. It is one of those 
paradoxical things which, while it is 
impossible to be classified, contains all 
that is to be found in almost any other 
dance. Even the persons who have so 
long and so loyally clung to other forms 
of dancing, and have abated none in 
their zeal for their favorites, have been 
unconsciously, and perhaps unwillingly, 
charmed by the seductiveness of the 
Boston, until they now freely declare 
the new dance to be the superior of the 
Waltz. Therefore it is safe to say that 
the Boston will, eventually, supersede 
the Waltz altogether. 

We demand a dance which combines 
ease of execution with attractive move- 
ment. That is just what the Boston 
does, and perhaps more. It is so simple 



THE FASCINA TING BOSTON 

in construction that, when acquired, it 
becomes natural, and its perfect adapta- 
bility assures it lasting popularity. 

Owing- to the urgent request of many 
of his pupils and colleagues, the author 
has undertaken this little book in the 
hope that it will meet the requirements 
of both teachers and students, and 
help to assure the proper appreciation 
of what is in reality the most delightful 
and artistic social dance since the 
Minuet. 



THE FIVE FUNDAMENTAL POSITIONS 

In order that the reader may the more 
readily understand the descriptions 
given in this book, we will explain the 
five fundamental positions upon which 
the art of dancing rests. 

In the 1st position, the feet are to- 
gether, heel against heel. 




In the 2nd position, the heels are sep- 
arated side wise, and on the same line. 





THE FASCINATING BOSTON 

In the 3rd position, the heel of one 
foot touches the middle of the other. 




In the 4th position, the feet are separ- 
ated as in walking, either directly for- 
ward or directly backward. 




THE FUNDAMENTAL POSITIONS 

In the 5th position, the heel of one 
foot touches the point of the other. 




In all these positions the feet must be 
turned outward to form not less than a 
right angle. 



THE POSITIONS OF THE PARTNERS 

Much, if not all, of the adverse criticism 
of the Boston which has been offered by 
educators, parents and other responsible 
objectors, has been directed at the rela- 
tive positions of the partners. This is, 
in fact, no more than the the general 
rule as regards the Social Round Dance, 
with the possible exception that the 
positions have been sometimes distorted 
by attempts to copy the freer forms of 
dancing that have been presented upon 
the stage. 

The Round Dance demands that a cer- 
tain fixed grouping of the partners be 
maintained in order that the rotation 
around a common moving centre may be 
accomplished, and it is here that the 
most serious problem is to be found. 

The dancing profession long ago 
undertook to settle upon arbitrary group- 



THE POSITIONS OF THE PARTNERS 

ings satisfactory to the needs of the 
dancers, and conforming' to all the re- 
quirements of propriety and hygienic 
exercise. 

Acting upon this basis, the reputable 
teachers of dancing throughout the 
world have adopted and promulgated 
three fundamental groupings for the 
Round Dance which are so constructed 
as to provide the greatest ease of execu- 
tion and freedom of action. 'They are 
known as the Waltz Position, the Open 
Position, and the Side Position of the 
Waltz. All round dances are executed 
in one or another of these groupings, 
which are not only accepted by all good 
teachers, but, with the exception of 
certain minor and unimportant varia- 
tions, rigidly adhered to in all their 
work. 

In the Waltz Position the partners 
stand facing one another, with shoulders 
parallel, and looking over one an- 
other's right shoulder. Special atten- 



THE FASCJNA TING BOSTON 

tion must be paid to the parallel position 
of the shoulders, in order to fit the in- 
dividual movements of the partners along* 
the line of direction. 

The gentleman places his right hand 
lightly upon the lady's back, at a point 
about half-way across, between the 
waist-line and the shoulder-blades. The 
fingers are so rounded as to permit the 
free circulation of air between the palm 
of the hand and the lady's back, and 
should not be spread. 

The lady places her left hand lightly 
upon the gentleman's arm, allowing her 
fore-arm to rest gently upon his arm. 
The partners stand at an easy distance 
from one another, inclining toward the 
common centre very slightly. The free 
hands are lightly joined at the side. This 
is merely to provide occupation for the 
disengaged arms, and the gentleman 
holds the tip of the lady's hand lightly 
in the bended fingers of his own. Guid- 
ing is accomplished by the gentleman 
through a slight lifting of his right elbow. 

10 



99 




s 



THE OPEN POSITION 

The Open Position needs no explana- 
tion, and can be readily understood from 
the illustration facing page. 8. 



THE SIDE POSITION OF THE WALTZ 

The side position of the Waltz differs 
from the Waltz Position only in the fact 
that the partners stand side by side and 
with the engaged arms more widely 
extended. The free arms are held as in 
the frontispiece. In the actual rotation 
this position naturally resolves itself into 
the regular Waltz Position. 



11 



THE STEP OF THE BOSTON 

The preparatory step of the Boston 
differs materially from that of any other 
Social Dance. There is only one position 
of the feet in the Boston— the 4th. That 
is to say, the feet are separated one from 
the other as in walking-. 

On the first count of the measure the 
whole leg swings freely, and as a unit, 
from the hip, and the foot is put down 
practically flat upon the floor, where it 
immediately receives the entire weight 
of the ho^j perpendiailai^ly . The weight 
is held entirely upon this foot during the 
remainder of the measure, whether it be 
in 3/4 or 2/4 time. 

The following preparatory exercises 
must be practiced forward and backward 
until the movements become natural, 
before proceeding. 



12 



THE STEP OE THE BOSTON 

In going- backward, the foot must be 
carried to the rear as far as possible, and 
the weight must always be perpendicular 
to the supporting foot. 

These movements are identical with 
walking, and except the particular care 
which must be bestowed upon the plac- 
ing of the foot on the first count of the 
measure, they require no special degree 
of attention. 

On the second count the free leg 
swings forward until the knee has be- 
come entirely straightened, and is held, 
suspended, during the third count of the 
measure. This should be practiced, 
first with the weight resting upon the 
entire sole of the supporting foot, and 
then, when this has been perfectly ac- 
complished, the same exercise may be 
supplemented by raising the heel (of the 
supporting foot) on the second coimt 
and lowering it on the third count. 
Great care niitst be taken not to divide the 
weight. 



13 



THE FASCINA TING BOSTON 

For the purpose of instruction, it is 
well to practice these steps to Mazurka 
music, because of the clearness of the 
count. 

When the foregoing exercises have 
been so fully mastered as to become, in 
a sense, muscular habits, we may, with 
safety, add the next feature. This con- 
sists in touching the floor with the point 
of the free foot, at a point as far forward 
or backward as can be done without 
dividing the weight, on the second count 
of the measure. Thus, we have accom- 
plished, as it were, an interrupted, 
or, at least, an arrested step, and this is 
the true essence of the Boston. 

Too great care cannot be expended 
upon this phase of the step, and it must 
be practiced over and over again, both 
forv/ard and backward, until the move- 
ment has become second nature. All 
this must precede any attempt to turn. 

The turning of the Boston is simplicity 
itself, but it is, nevertheless, the one 



14 



777^ STEP OF THE BOSTON 

point in the instruction which is most 
bothersome to learners. The turn is 
executed upon the ball of the siippoi^ting 
foot^ and consists in twisting- half round 
without lifting either foot from the 
ground. In this, the weight is held 
altogether upon the supporting foot, and 
there is no crossing. 

In carrying the foot forward for the 
second movement, the knees must pass 
close to one another, and care must be 
taken that the entire half turn comes upon 
the last count of the measure. 

To sum up: — 

Starting with the weight upon the 
left foot, step forward, placing the entire 
weight upon the right foot, as in the 
illustration facing page 14 (count 1); 
swing left leg* quickly forward, straight- 
ening the left knee and raising the right 
heel, and touch the floor with the ex- 
tended left foot as in the illustration 
facing page 16, but without placing any 
weight upon that foot ( count 2 ) ; execute 

15 



THE FASCINATING BOSTON 

a half -turn to the left, backward, upon 
the ball of the supporting- (right) foot, 
at the same time lowering- the right heel, 
and finish as in the illustration opposite 
page 18 (count 3). One measure. 

Starting again, this time with the 
weight wholly upon the right foot, and 
with the left leg extended backward, and 
the point of the left foot lightly touching 
the floor, step backward, throwing the 
weight entirely upon the left foot which 
sinks to a position flat upon the floor, 
as shown in the illustration facing page 
21, (count 4); carry the right foot quickly 
backward, and touch with the point as 
far back as possible upon the line of 
direction without dividing the weight, 
at the same time raising the left heel as 
in the illustration facing page 22, (count 
5); and complete the rotation by execut- 
ing a half- turn to the right, forward, 
upon the ball of the left foot, simultan- 
eously lowering the left heel, and 
finishing as in the illustration facing 
page 24, (count 6). 

16 



THE STEP OF THE BOSTON 



THE REVERSE 

The reverse of the step should be 
acquired at the same time as the rotation 
to the right, and it is, therefore, of great 
importance to alternate from the right 
to the left rotation from the beginning 
of the turning exercise. The reverse 
itself, that is to say, the act of alternating 
is effected in a single measure without 
turning (see preparatory exercise, page 
13) which may be taken backward by 
the gentleman and forward by the lady, 
whenever they have completed a whole 
turn. 

The mechanism of the reverse turn is 
exactly the same as that of the turn to 
the right, except that it is accomplished 
with the other foot, and in the opposite 
direction. 

There is no better or more efficacious 
exercise to perfect the Boston, than that 
which is made up of one complete turn 

17 



THE FASCINA TING BOSTON 

to the right, a measure to reverse, and 
a coniplete turn to the left. This should 
be practised until one has entirely 
mastered the motion and rhythm of the 
dance. The writer has used this exercise 
in all his work, and finds it not only 
helpful and interesting to the pupil, but 
of special advantage in obviating the pos- 
sibility of dizziness, and the consequent 
unpleasantness and loss of time. 

After acquiring a degree of ease in 
the execution of these movements to 
Mazurka music, it is advisable to vary 
the rhythm by the introduction of Span- 
ish or other clearly accented Waltzjmusic, 
before using the more liquid composi- 
tions of Strauss or such modern song 
waltzes as those of Danglas, Sinibaldi, 
etc. 

It is one of the remarkable features 
of the Boston that the weight is always 
opposite the line of direction — that is to 
say, in going forward, the weight is 
retained upon the rear foot, and in going 



THE STEP OF THE BOSTON 

backward, the weight is always upon the 
front foot (direction always radiates 
from the dancer). Thus, in proceeding 
around the room, the weight must always 
be held back, instead of inclining 
slightly forward as in the other round 
dances. This seeming contradiction of 
forces lends to the Boston a unique 
charm which is to be found in no other 
dance. 

As the dancer becomes more familiar 
with the Boston, the movement becomes 
so natural that little or no thought need 
be paid to technique, in order to develop 
the peculiar grace of it. 

The fact of its being a dance alto- 
gether in one position calls for greater 
skill in the execution of the Boston, than 
would be the case if there were other 
changes and contrasts possible, just as 
it is more difficult to play a melody upon 
a violin of only one string. 

The Boston, in its completed form, 
resolves itself into a sort of walking 

19 



THE FASCINA TING BOSTON 

movement, so natural and easy that it 
may be enjoyed for a whole evening 
without more fatigue than would be the 
result of a single hour of the Waltz and 
Two-Step. 

Aside from the attractiveness of the 
Boston as a social dance, its physical 
benefits are more positive than those of 
any other Round Dance that we have 
ever had. The action is so adjusted as 
to provide the maximum of muscular 
exercise and the minimum of physical 
effort. This tends towards the con- 
servation of energy, and produces and 
maintains, at the same time an evenness 
of blood pressure and circulation. The 
movements also necessitate a constant 
exercise of the ankles and insteps which 
is very strengthening to those parts, and 
cannot fail to raise and support the arch 
of the foot. 

Taken from any standpoint, the Bos- 
ton is one of the most worthy forms of 
the social dance ever devised, and the 



20 



THE STEP OE THE BOSTON 

distortions of position which are now 
occasionally practiced mnst soon give 
way to the genuinely refining influence 
of the action. 

Of the various forms of the Boston, 
there is little to be said beyond the 
description of the manner of their execu- 
tion, which will be treated in the follow- 
ing pages. 

It is hoped that this book will help 
toward a more complete understand- 
ing of the beauties and attractions of 
the Boston, and further the proper 
appreciation of it. 



21 



All descriptions of dances given in this 
book relate to the lady ^s part. The gentle- 
7nan'^s is exactly the same^- but in the 
counter motion. 



THE LONG BOSTON 

The ordinary form of the Boston as 
described in the foregoing- pages is 
commonly known as the "Long" Boston 
to distinguish it from other forms and 
variations. It is danced in 3/4 time, 
either Waltz or Mazurka, and at any 
tempo desired. As this is the fund- 
amental form of the Boston, it should 
be thoroughly acquired before under- 
taking any other. 



22 



THE SHORT BOSTON 

The "Short" Boston differs from the 
"Long" Boston only in measure. It is 
danced in either 2/4 or 6/8 time, and the 
first movement (in 2/4 time) occupies 
the duration of a quarter-note. The 
second and third movements each occupy 
the duration of an eighth-note. Thus, 
there exists between the "Long" and 
and the "Short" Boston the same 
difference as between the Waltz and the 
Galop. In the more rapid forms of the 
"Short" Boston, the rising and sinking 
upon the second and third movements 
naturally take the form of a hop or skip. 
The dance is more enjoyable and less 
fatiguing in moderate tempo. 



23 



THE OPEN BOSTON 

The ' ' Open ' ' Boston contains two 
parts of eight measures each. The first 
part is danced in the positions shown in 
the illustrations facing pages 8 and 10, 
and the second part consists of 8 meas- 
ures of the *'Long" Boston. 

In the first part, the dancers execute 
three Boston steps forward, without 
turning, and one Boston step turning 
(towards the partner) to face directly 
backward (1/2 turn). 4 measures. 

This is followed by three Boston steps 
backward (without turning) in the posi- 
tion shown in the illustration facing page 
10, followed by one Boston step turning 
(toward the partner) and finishing in 
regular Waltz Position for the ex- 
ecution of the second part. 



24 



THE BOSTON DIP 

The "Dip" is a combination dance in 
3/4 or 3/8 time, and contains 4 measures 
of the " Long" Boston, preceded by 4 
measures, as follows: 

Standing upon the left foot, step 
directly to the side, and transfer the 
weight to the right foot ( count 1 ) ; swing 
the left leg to the right in front of the 
right, at the same time raising the right 
heel (count 2); lower the right heel 
(count 3); return the left foot to its 
original place where it receives the 
weight (count 4); swing the right leg 
across in front of the left, raising the 
left heel (cotmt 5); and lower the left 
heel (count 6). 2 measures. 



25 



THE FASCINATING BOSTON 

Swing the right foot to the right, and 
put it down directly at the side of the 
left (count 1); hop on the right foot and 
swing the left across in front (count 2); 
fall back upon the right foot (count 3); 
put down the left foot, crossing in front 
of the right, and transfer weight to it 
(count 4); with right foot step a whole 
step to the right (count 5); and finish by 
bringing the left foot against the right, 
where it receives the weight (count 6). 

2 measures. 

In executing the hop upon counts 2 
and 3 of the third measure, the movement 
must be so far delayed that the falling 
back will exactly coincide with the third 
count of the music. 



26 



THE TURKEY TROT 

Preparation: — Side Position of the Walts. 

During- the first four measures take 
four Boston steps without turning (lady 
forward, gentleman backward), and 
bending the supporting knee, stretch the 
free foot backward, (lady's left, g^entle- 
man's right) as shown in the illustration 
opposite. 4 meas. 

Repeat in opposite direction. 4 meas. 

Execute four drawing steps to the side 
(lady's right, gentleman's left) swaying 
the shoulders and body in the direction 
of the drawn foot, and pointing with the 
free foot upon the fourth, as shown 
in figure 4 meas. 

Repeat in opposite direction. 4 meas. 

Eight whole turns. Short Boston or Two- 
Step. 16 meas. 

Repeat at will. 



A splendid specimen for this dance will be found 
in "The Gobbler" by J. Monroe. 



27 



THE AEROPLANE GLIDE 

The "Aeroplane Glide" is very simi- 
lar to the Boston Dip. It is supposed 
to represent the start of the flight of an 
aeroplane, and derives its name from 
that fact. 

The sole difference between the "Dip" 
and ' ' Aeroplane ' ' consists in the six 
rnnning steps which make up the first 
two measures. Of these running steps, 
which are executed sidewise and with 
alternate crossings, before and behind, 
only the fourth, at the beginning of the 
second measure requires special de- 
scription. Upon this step, the support- 
ing knee is noticeably bended to coincide 
with the accent of the music. 

The rest of the dance is identical with 
the "Dip". (See page 25.) 



28 



THE TANGO 

The Tango is a Spanish American 
dance which contains much of the peculiar 
charm of the other Spanish dances, and 
its execution depends largely upon the 
ability of the dancers so to grasp the 
rhythm of the music as to interpret it by 
their movements. The steps are all 
simple, and the dancers are permitted to 
vary or improvise the figures at will. 

Of these figures the two which follow 
are most common, and lend themselves 
most readily to verbal description. 



29 



TANGO No. 1 

The partners face one another as in 
Waltz Position. The g-entleman takes 
the lady's right hand in his left, and, 
stretching the arms to the full extent, 
holding them at the shoulder height, he 
places her right hand upon his left 
shoulder, and holds it there, as in the 
illustration opposite page 30. 

In starting, the gentleman throws his 
right shoulder slightly back and steps 
directly backward with his left foot, 
while the lady follows forward with her 
right. In this manner both continue 
two steps, crossing one foot over the 
other and then execute a half -turn in 
the same direction. This is followed by 
four measures of the Two-Step and the 
whole is repeated at will. 8 measures 



30 



TANGO No. 2 

This variant starts from the same pos- 
ition as Tango No. 1. The gentleman 
takes two steps backward with the lady 
following forward, and then two steps to 
the side (the lady's right and the gentle- 
man'sleft) and two steps in the opposite 
direction to the original position. 

8 measures. 

These steps to the side should be 
marked by the swaying of the bodies as 
the feet are drawn together on the second 
count of the measure, and the whole is 
followed by 8 measures of the Two-Step. 
Repeat all as desired. 



31 



Ideal Music forthe 
Boston" 



( c 



PIANO SOLO 

{Also to be had for Full or Small Orchestra) 



LOVE'S AWAKENING 


J. Danglas 


.60 


ON THE AVINGS OF DREAM 


J. Danglas 


.60 


FRISSON (Thrill!) 


S. Sinibaldi 


.50 


LOVE'S TRIUMPH 


A. Dafiiele 


.60 


DOUCEMENT 


G. Robert 


.60 


VIENNOISE 


A. Duval 


.60 



These selected numbers have attained, success, not alone 
for their attractions of melody and rich harmony, but for 
their rhythmical flexibility and perfect adaptedness to the 
' 'Boston." 



For the Turkey Trot 

Especially recommended 
THE GOBBLER /. Monroe .50 



Any of the foregoing compositions will be supplied on 
receipt of one-half the list price. Postage two cents extra 
for each copy. 



PUBLISHED BY 

THE BOSTON MUSIC COMPANY 
26 & 28 West St., Boston, Mass. 



m 



23 1913 



X* 




LIBRARY OF CONGRESS 

020 237 527 ' 



